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ORIXE Modular Outdoor Collection Pays Tribute to Tree Stumps
Modular furniture is as useful outside as it is indoors – maybe even more so. ORIXE is a new industrialized range of commercial modular outdoor furniture designed by Spanish brands Savia by Finsa and Stone Designs. The collection’s name is derived from the Galician word for “origin” and pays homage to the brands’ focus on materials that come from the earth. The collection, made using concrete mixed with recycled aggregate, wood, and metal, is inspired by the stumps of trees. Particularly the ones felled in forests, as it’s the only proof of their existence.
ORIXE includes tables of various shapes and heights, benches, seats, umbrellas, planters, bins, and screens. All components can be used together in a nearly unlimited range of combinations and formations. The collection’s flexible design is ideal for outdoor spaces: terraces, co-working spaces, hotels, and more. Assembling the ORIXE system is fast and easy, giving you the ability to rearrange elements as many times and as often as you’d like.
To learn more about the ORIXE collection, visit finsa.com.
‘Going to the washroom just got more beautiful’: New art washroom opens at The Forks Market
The Forks Market is home to some new art, but its location is a bit unusual.
With the addition of a new washroom at the Forks Market, a decision was made to feature the artwork of local artists in the space.
“Beautiful, accessible spaces are key to the success of any gathering place, and nothing brings a space to life more than the work of artists,” said Sara Stasiuk, Chief Executive Officer, The Forks North Portage. “We needed more functional washrooms on the second floor of The Market and saw this as an opportunity to bring more public art to The Forks in a surprising way. It’s an honour to house the work of local talent in our new accessible art washrooms.”
Five local artists were chosen to share their work, including Erin Ahl, whose work is featured as wallpaper in the stalls. Jazz Aline, a multidisciplinary artist, has her work featured in the new family washroom. Lyrics from two local musicians and songwriters, Adrina Turenne and Alpha Toshineza, are on the walls in the open public space by the sinks. Meanwhile, Kiana Jade created a custom wallpaper for the space.
The new washrooms, located on the second floor of The Forks Market, feature four enclosed universal stalls, a common sink area and a family washroom.
Delphine Diallo Crafts Divinely Elegant Portraits of Black Women in ‘Highness’
All images © Delphine Diallo, shared with permission
In her series Highness, Delphine Diallo’s regal subjects don elaborate masks, headdresses, and jewelry. Captured in both color and black-and-white, the women are portrayed as timeless and noble, wearing body paint, jewelry, and attire that draw on mythology and spiritual symbols to explore what the photographer calls the “divine female body.”
Highness developed from an earlier project focused on presenting family members and friends as goddesses. As the series expanded, Diallo recognized the importance of connecting to her subjects and empowering them in the process, emphasizing deep conversations and building long-term relationships with her sitters.
In a practice spanning sculpture, design, photography, collages, and music, Diallo finds inspiration in collaboration and learning from others. Highness features intricate hair pieces made by Joanne Petit-Frère, including a towering form evocative of Nefertiti’s tapered blue headdress. Composed of numerous braids, Petit-Frère’s creations envelop the face or curl around beads, complemented by metalwork by L’Enchanteur.
Diallo recently released a new book titled Divine, published by Hat and Beard Press, and if you’re in London, you can see her work at Somerset House through September 24 as part of the group exhibition Black Venus. Find more work on the artist’s website and Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Delphine Diallo Crafts Divinely Elegant Portraits of Black Women in ‘Highness’ appeared first on Colossal.
On the art scene: Second Saturday and new exhibits
To paraphrase Neil Young, art never sleeps. It’s August, it’s hot and humid and sleepy, but St. Petersburg’s artist community has not, will not, set down its collective brush.
First and foremost, Saturday (Aug. 12) brings this month’s edition of the St. Petersburg Arts Alliance’s Second Saturday ArtWalk, during which some 40 studios and galleries leave their doors wide for a strolling, chatting and perusing city-wide open house.
It’s a self-guided tour, which can be navigated from the top, bottom or middle of this handy map. Some locations have refreshments and/or live music. All have fine art, with every description (and medium) available. (There are, sadly, no trolleys this month.)
Meet the artists, talk about art, have a cool one, take a few photos. Maybe buy something. Keep searchin’ for that heart of gold. ArtWalk hours are 5-9 p.m.
Robert Simone.
Friday exhibit openings
Work by Terry Brett as part of “Glyph,” at Leslie Curran Gallery.
Jabari Reed-Diop’s Ghetto Gods opens with a reception Friday at thestudio@620. The 23-year-old painter is one of the area’s most consistently watchable artists; this new show, which he discusses in this story, represents a subtle shift into new territory (it’s different from his previous work). Ghetto Gods is one of the stops on the Second Saturday ArtWalk.
New at the Leslie Curran Gallery is Glyph, an exhibition of paintings by Terry Brett and ceramic sculptures by Jan Richardson. At the 5-8 p.m. reception Friday, Brett will talk about his large, tactile monochrome paintings using deep relief, plaster or burlap. Richardson, who teaches at the Morean Center For Clay, produces functional, figurative and abstract work. This is also is one of the stops on the Second Saturday ArtWalk.
There’s a reception from 5 to 9 p.m. Friday at Woodfield Gallery for Paradise Found – the Art of Robert Simone. The Petersburg artist is known for his dramatic oil paintings of outdoor scenes.
Other new exhibits
In “HAPPY! Art That Makes You Smile,” “Psst,” photography by Tracy Kennard.
HAPPY! Art That Makes You Smile is the new show at Five Deuces Galleria, with work from more than 100 guest artists. There are seven resident artists at Five Deuces, and they’ll be happy to show you around during the Saturday ArtWalk.
St. Pete Artworks’ August Artist of the Month is Laura Brigman, whose mixed media show Pixel Perfect will be feted during the ArtWalk. This art is inspired by the works of Salvador Dali, who used distance to change the perspective of images. Refreshments and live music are part of the plan for Saturday’s reception.
New stuff on the ArtsXChange campus (Warehouse Arts District): In the Burka Member Lounge, Summer Heat is a members show focusing on, well, themes of summer and heat. In the Tully-Levine Gallery, Made Here is a diverse collection with works by resident ArtsXChange artists.
Saturday’s ArtWalk will see the debut of two new shows at Soft Water Gallery, also part of the Warehouse Arts District’s ArtsXChange campus: Selected Smalls: Graphically Inclined features small-scale works by Lynn Foskett, Anna Rac and Diana Tonnessen – respectively collage and frottage, monochrome ink drawings and linoleum block prints. Then there’s Alternate Realms: Selected Works by Candace Knapp, an exhibition of paintings and sculptural works in acrylic, clay and wood.
Opening Saturday at the Museum of Fine Arts St. Petersburg, Explore the Vaults: Water & Color exhibits paintings and drawings made using water-based media, including ink, gouache and watercolor. Because works on paper are sensitive to light, these pieces – from the permanent collection – are rarely displayed. Water & Color runs through Jan. 7.
Art news
The application deadline is Aug. 15 at midnight for artists interested in working on Creative Pinellas’ South Pasadena Florida Mural Project, a city beautification (artification) initiative. Find details here.
In Tampa: University of South Florida Professor Emeritus Bruce Marsh, who taught art for 37 years, will be honored with a solo exhibition Aug. 21-Sept. 7 at The School of Art & Art History in the USF College of The Arts. There will be a reception for Bruce Marsh – A Six Decade Survey Aug. 25. The exhibition will feature more than four dozen oil paintings and watercolors.
In Tampa: At the USF Contemporary Art Museum, Native America: In Translation (Aug. 25-Dec. 1) is an exhibition of fine art photography by nine Indigenous artists “offering new perspectives on Indigenous identity by reimagining what it means to be a citizen in North America today.” It’s curated by Apsáalooke artist Wendy Red Star and organized by Aperture.
From “Native America: In Translation,” Martine Gutierrez, Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas, 2018.
The fine print
Please add us to your mailing list – send all press releases and event info to bill@stpetecatalyst.com.
You can also submit your events to the Catalyst calendar, by clicking here.
A New Show of Allen Ginsberg’s Photographs Will Also Feature Poems Generated by an A.I. Trained on Those Same Images
A new show at Fahey/Klein Gallery in Los Angeles will see Allen Ginsberg in dialogue with two distinct technologies: one of photography, which the late poet engaged with throughout the decades, and the other, entirely of our moment, A.I.
Ginsberg acquired his first camera, a Kodak Retina, in 1953 and began avidly immortalizing his friends and lovers in pictures. He saw these pictures as “sacramental,” as he wrote in 1993’s Snapshot Poetics, a way of enshrining the spiritual gravitas of William S. Burroughs, say, or Jack Kerouac’s “exquisite… face and gestures.”
“His photos just have that intimacy with deep reverence and admiration for his friends,” Peter Hale of the Allen Ginsberg Foundation told Artnet News, “which is a major component of his poetry: admiration of and reverence for humanity, a celebration.”
The exhibition, “Muses & Self: Photographs by Allen Ginsberg,” gathers such portraits of his Beat colleagues, including Kerouac, Peter Orlovsky, Neal Cassady, and Gregory Corso, captured candidly and spontaneously. But it also goes on to trace Ginsberg’s formal evolution as a photographer beyond this early interest.
Allen Ginsberg, Arthur Miller, William H. Gass, Hotel Royal Elevator, Copenhagen, November 1985. Photo: © Allen Ginsberg, courtesy of Fahey/Klein Gallery, Los Angeles.
In 1983, after years of dormancy, Ginsberg renewed his photographic practice by acquiring better equipment on the advice of Robert Frank and Berenice Abbott, and engaging in what he called “continuous reportage.”
“He basically went from taking a roll or two a year to a roll or two every week!” said Hale. “This period through the late ’80s, I consider his richest, with almost every contact sheet producing something significant.”
As his fame and friend circle grew, Ginsberg’s images from this era span styles and subjects. There’s a casual group shot at the 1990 Small Press Book Fair, a selfie snapped during an elevator ride with Arthur Miller, a street scene of Keith Haring leaving chalk art on a pavement, and a tender portrait of Patti Smith and Burroughs.
A number of Ginsberg’s photographs further feature his handwritten captions (a custom he picked up from Elsa Dorfman), which fill out the pictures’ contexts and narratives. They were “gems of hyper-compressed information,” said Hale, works of art in themselves that harken back to Ginsberg’s knack for poetic incision.
As Ginsberg wrote in Snapshot Poetics: “In a sense, writing poems and taking pictures have been two discrete but very closely related activities.”
Allen Ginsberg, Amiri Baraka with Jayne Cortez, Rashida Ismaili, and friends, Small Press Book Fair, December 2, 1990. Photo: © Allen Ginsberg, courtesy of Fahey/Klein Gallery, Los Angeles.
It’s apt, then, that “Muses & Self” will also unveil a series of poems that have been generated by an A.I. model trained on Ginsberg’s textual and visual output, including his poetry, prose, captions, and more than 400 photographs.
The collection, titled “A Picture of My Mind: Poems Written by Allen Ginsberg’s Photographs,” has been developed in partnership with theVERSEverse, a Web3 poetry collective, and based on its member Ross Goodwin’s 2018 work, Word.Camera. It is supported by the Tezos Foundation and the Allen Ginsberg Estate.
“It’s been exhilarating to see the resonances and associations that pop up between seemingly disparate words, images and moments,” theVERSEverse told Artnet News, “to see from a sort of aerial view how all the relationships and personal encounters and sacred moments captured in Ginsberg’s photographs may have filtered into or out of his writings.”
Built from such a comprehensive ingestion of Ginsberg’s oeuvre, the generated works “speak to us from the past and invite us into the future,” the group added.
The algorithmically generated “Shared Reflections: A Snapshot,” for instance, created in response to Ginsberg’s image, Calcutta Self-Portrait with Peter Orlovsky, 1961, offers: “Who can capture / the fleeting essence / of such a moment, / fragments of the infinite?”
Allen Ginsberg, Antler, Poet, Brooklyn Bridge, April 7, 1990. Photo: © Allen Ginsberg, courtesy of Fahey/Klein Gallery, Los Angeles.
For his part, Hale has found the A.I. poems “fascinating,” locating them in the tradition of Burroughs’s cut-up experiments. The Beat writers’ choice technique of automatic writing is also echoed in the generative form, theVERSEverse points out.
While the A.I.-generated poems that make up “A Picture of My Mind” have been edited and curated to keep it “true to [Ginsberg’s] inimitable voice,” theVERSEverse plans to further evolve its generator to reduce the need for such human intervention. Those results are bound for a long-form series planned for the fall alongside generative platform fxhash.
“We’re essentially turning Ginsberg’s historical photographs into poem machines that allow us not just to read his work but also to engage, interrogate, interact, and continuously create with it,” the collective said. “We’re activating these photos and equipping them to talk back, invite us in deeper, and maybe even reveal things we don’t already know or see.”
“Muses & Self: Photographs by Allen Ginsberg” is on view at Fahey/Klein Gallery, 148 North La Brea, Los Angeles, August 10–September 23.
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‘Native America: In Translation’
New USFCAM exhibition showcases work of nine Indigenous artists
TAMPA — The USF Contemporary Art Museum, part of the Institute for Research in Art in the USF College of the Arts, will present “Native America: In Translation,” running Aug. 25 through Dec. 1, at 3821 USF Holly Drive.
Curated by Apsáalooke artist Wendy Red Star and organized by Aperture, “Native America: In Translation” assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism.
The exhibit probes the “legacies of settler colonialism” and photography’s complex role in representing Native cultures. Featured are works by lens-based artists Rebecca Belmore (Anishinaabe, Lac Seul First Nation), Nalikutaar Jacqueline Cleveland (Yup’ik), Martine Gutierrez (American), Koyoltzintli (Ecuadorian-American), Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation), Guadalupe Maravilla (American), Kimowan Metchewais (Cree, Cold Lake First Nations), Alan Michelson (Mohawk, Six Nations of the Grand River) and Marianne Nicolson (Musgamakw Dzawada’enuxw First Nations.
A free poster featuring the work of Martine Gutierrez will be available to visitors while supplies last.
“Native America: In Translation” expands on Wendy Red Star’s role as guest editor of the fall 2020 issue of Aperture magazine. The exhibition is organized by Aperture and is made possible, in part, with generous support from the National Endowment for the Arts.
The USFCAM presentation of “Native America: In Translation is supported in part by the Lee & Victor Leavengood Endowment; the USFCAM ACE (Art for Community Engagement) fund patrons; and the Florida Department of State, Florida Arts & Culture. Funding for this program was provided through a grant from Florida Humanities with funds from the National Endowment for the Humanities.
Special exhibition hours will be offered on Friday, Aug. 25, from 6:30 to 9 p.m. Normal gallery hours are Monday through Friday, 10 a.m. to 5 p.m., and Saturday, 1 to 4 p.m.
The gallery has extended hours on Thursday, to 8 p.m. The gallery is closed Sundays. All exhibits and events are free and open to the public.
The museum also has some other events upcoming:
• “Native America: In Translation” exhibition walkthrough and opening reception — Friday, Aug. 25, 6:30 to 9 p.m., at the USF Contemporary Art Museum. USF Curator of Public Art and Social Practice Sarah Howard will lead a gallery tour at 6:30 p.m., followed by an opening reception. This event is free and open to all.
• ART Thursday Concert in the Galleries: Native America: Sonic Translation — Thursday, Sept. 14, 7 p.m., at the USF Contemporary Art Museum. In response to the exhibition “Native America: In Translation,” USF students, faculty, and USF Community Music Project feature performances and world premieres of original scores composed by Dr. William Linthicum-Blackhorse and USF Faculty member, Dr. Justin Giarrusso. The free event is open to all and is presented by USF Contemporary Art Museum and USF School of Music.
• “Native America: In Translation” online conversation — Wednesday, Oct. 4, 6 p.m., via Zoom. Registration is required. In this online conversation, Wendy Red Star, exhibition curator, and artists Marianne Nicolson and Koyoltzintli, will discuss concepts and approaches to Indigenous visual sovereignty in reclaiming cultural identity. The discussion will be moderated by USF Curator of Public Art and Social Practice Sarah Howard. This is a free event.
• Guadalupe Maravilla: Kennedy Family Visiting Artist Lecture — Thursday, Oct. 19, 6 p.m., at the USF School of Art and Art History, FAH 101. Transdisciplinary visual artist, choreographer, and healer Guadalupe Maravilla will present a public lecture on his creative practice. Maravilla’s work is included in “Native America: In Translation.” This event is free and open to all and is presented by the USF School of Art and Art History Kennedy Family Artist and Scholar Residency.
• What Remains: Listening to Indigenous Perspectives — Saturday, Nov. 4, 11 a.m., at Barness Hall, USF School of Music, 3755 USF Holly Drive, MUS 107, Tampa. This forum gathers the voices of an Indigenous artist, tribal cultural preservationist, and Native American civil rights and environmental advocates in dialogue with an expert in the field of anthropology to explore ways of restoring and expanding Indigenous cultural agency and honoring tribal heritage and ecological knowledge. The forum will be moderated by USF Curator of Public Art and Social Practice Sarah Howard. The program is free and open to all.
• ART Thursday, student-led exhibition tours — Thursday, Nov. 30, 6 and 7 p.m., at the USF Contemporary Art Museum. Join us for two student-led tours of the exhibition “Native America: In Translation.” The tours are free and open to the public.
About the museum
USF Contemporary Art Museum organizes and presents significant and investigative exhibitions of contemporary art from Florida, the United States and around the world. Serving as a teaching laboratory, USFCAM’s curatorial and socially engaged initiatives and educational programs are designed to present the students, faculty, and community with current issues of contemporary art practice, and to explore the role of the arts in society. USFCAM publishes relevant catalogues, presents critically recognized traveling exhibitions and commissions new projects by national and international artists. USFCAM maintains the university’s art collection, comprising more than 5000 contemporary art works. For more information, visit cam.usf.edu.
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